Priestley had witnessed the horrific events of both wars and realized the people in upper classes were still snobby and pessimistic when it came to changing their views in the class system. In creating Sheila's character, Priestley was hoping the audience would take on board his powerful message. Priestley uses a range of interesting techniques in order to present Sheila's change, the most obvious methods he uses is language techniques to convey certain messages. At the beginning of the play, Sheila is presented as a stereotypical middle class young woman - immature and spoilt. Priestley brings this out through Sheila's character through her childish language such as "I'm sorry Daddy and "go on Mummy".
“Not a day since then I haven’t whished him dead”-Havisham This is very effective as the aggressive tone shows “Havisham” has been rejected and her love is causing her pain. Similarly in “Valentine” “Carol Ann Duffy” uses a very forceful tone with words like “here” and “take it” which tells us her lover is not being very co-operative and like “Havisham” suggests a degree of pain within there love. The theme of love is taken to a deeper level by “Carol Ann Duffy” when she shows through literary techniques that the pain of love can be dangerous. The theme of love is contrasted by violent metaphors in both poems. “Ropes on the back of my hands I could strangle with”-Havisham This is another example of the pain of love and it is particularly effective as it shows the extreme physical tension within “Havisham” and describes the pain of love as a driving force of murder.
The added use of “they” ultimately shows the loss or lack of identity held by these men in life or death. In addition, the regular rhyme scheme in the poem portrays the ongoing harshness and bitterness that Browning feels towards the display. Enjambment blurs the evenly spaced content which furthermore shows that Browning is confused about why brutality was allowed and continued to happen. In the sixth stanza, Browning puzzles over the causes of suicide: disillusioned idealism, the world’s cruelty, money and women. This is shown by “Money gets women, cards and dice Get money, and ill luck gets just The copper couch…”.
GAS! Quick, boys!’ places a confronting reality amongst the literature. In addition, polysyllabic verbs such as ‘fumbling’, ‘stumbling’ and ‘floundering’ force you, the reader to place emphasis on these depictive words which create visuals and mirror those moments of sheer desperation. It is through the controlling techniques of pace and imagery in my poetry that I hoped to depict the violence and utter vulnerability of life at war. However, the horror does not stop there, the dehumanisation is unrelenting.
'Bayonet Charge' is a poem by Ted Hughes and it focuses upon the negative points of patriotism. The Structure This poem is in free verse which adds to the feeling of panic and irregularity to the poem. Hughes also uses a lot of enjambement, caesura and end stopping to control the pace of the poem. In verse 1, a lot of caesura and end stopping is used to create a slow pace and show how there is no action and that the verse is just scene setting. Contrastingly in verse 2, enjambement is used which gives the feel of panic an rush and gives you the impression of action.
‘Not waving but drowning’ by Stevie Smith is about the difficulties some individuals experience in communications and the fundamental isolation of the individual modern society. The poet creates an extension of isolation from her audience, as a result of misapprehension, which is a lack of understanding of the poets intended message. Stevie Smith (Florence Margret Smith) was born in 1902 in Hull, England and moved to London at the tender age of three and lived there until her death in 1971. Smith wrote in a variety of different styles ranging from ballads to the stream of consciousness. She is well known for her poetry and novels.
It serves dual purposes and he was aware of what that word would do. It is very sarcastic and pointed. The word tragic acts as an adjective that further expands his use of must. It is a very descriptive word that jumps off of the page and hits the reader in the face. If he were to put the word sad in its place for example, the reader would not get the same effect even though the words are synonymous.
However, the most incredible of all these passages is found in Act 4, Scene 1, Lines 164-177, where Macbeth contemplates his inner thoughts to himself. Here, Macbeth speaks to time, providing the audience with a more in depth image of its importance. Also, Macbeth’s diction is short and fierce, further pushing the play’s theme of insanity slowly taking over Macbeth’s mind. Lastly, the passage faultlessly illustrates Macbeth’s fatal flaw of ambition slowly ruining his inner being. With these things taken into account, it will be effortless for one to show just how lovely this passage is
Victor’s two years of alienation between himself and society during his process of creating the monster parallel the period of a woman’s confinement before labor. By depicting Victor as “so thin and pale’ [he looks] as if [he] had been watching for several nights” (Shelley 360), Shelley contends that confinement sickens one’s body and mind. She also suggests that confinement has an adverse effect on the baby because even though Victor has to endure “infinite pain and care” (Shelley 34), he still produces a disastrous monster, which is dangerous for himself and society. Victor’s creation is just like his “crime and punishment” (Halberstam 2). Because of Victor’s feeling of being alienated he invented a monster and has to consequently pay by it with his life and his life and his loved one.
Poe uses a grand choice of diction throughout the entire story, but there are some main points that need to be observed with a closer perspective to perhaps reveal and understand a deeper meaning. In the very first paragraph Poe used diction to show why Montresor hungers revenge so deeply. “The Thousand injuries of Fortunato I had Bourne as I best could; but when he ventured upon insult, I vowed revenge” (Poe, 1). In other words, Montresor had been physically harmed by Fortunato and has tolerated it as best as he could many times, but when Fortunato used an offensive expression towards him he sought to get revenge. Later on in the